The mastery of color : A simple and perfect color system, based upon the spectral colors, for educational purposes and practical use in the arts and crafts

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THE MASTERY OF COLOR

FRANZ D. HAKE, Printer.
Milwaukee, Wis.

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THE

MASTERY OF COLOR

A SIMPLE AND PERFECT COLOR SYSTEM,
BASED UPON THE SPECTRAL COLORS,

FOR EDUCATIONAL PURPOSES AND PRACTICAL USE
IN THE ARTS AND CRAFTS.

BY

CHARLES JULIUS JORGENSEN

VOLUME I.

DEMONSTRATED BY THE FUNDAMENTAL PIGMENTS,
APPLIED AND BLENDED IN THE AUTHOR’S STUDIO.

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1906.

PUBLISHED BY THE AUTHOR.

MILWAUKEE.

Copyright 1906

by

Charles Julius Jorgensen.

System patented in the U. S. of A.
September 16, 1902.

In England, August 8, 1902.

PREFACE.

The author, in his capacity as a professional
colorist and decorator, covering a period of over
forty years, found the conception of color by
different individuals so vague and vacillating,
that he recognized the need of a definite system
for arranging colors in a practical form. This
need became more apparent, when he found
himself confronted with the problem of produ-
cing, arranging, combining and illustrating color
suggestions, precisely and systematically, for
use in his profession. Fully cognizant of these
facts, the system here introduced was gradually
originated and developed to fill this want.

In presenting this work to the students and
workers in the field of color, the author is
actuated merely by a recognition of the exist-
ing need of certain positive and approved meth-
ods. Its mission is to meet this need in a com-
prehensive manner, render aid of a practical
character, and add to the better understanding
of the phenomenon of color and the advance-
ment of the fine arts.

Color is the festive garb of nature.

CONTENTS.

Preface 5

Introductory 9

Color Impressions • 14

Spectral Colors 15

Color Characteristics • 18

Pigmentary Colors 21

Modern Colors : Primary Colors .23

Secondary Colors 23

Tertiary Colors 23

Color System 25

Luminosity 26

Black and White 27

Neutral Gray . . . . 28

Complementary Colors • 31

Fundamental Colors 36

Pigments Used 37

The Color Circle . 40

The Three Groups 42

Theoretical Color Contests . 44

Table I Explained 45

Preponderance of Color . 47

7

Combinations, Table I . 48

Combinations, Table II 49

Combinations, Table III 50

Combinations, Table IV 51

Tertiary Color Combinations 52

The Ninety Combinations 54

Theoretical and Practical Proof ‘59

Diagrams, pp. 60, 61 and 62

Tones and Tints 64

Use of the Color Plates 65

Point of Balance 69

The Perforated Mat . 70

Color Blindness 71

Harmony of Color 72

Harmony in the Combinations 74

Color Mixing 79

Practical Hints 80

Commercial Mixed Colors • • • 81

In Practical Use - 82

8

THE MASTERY OF COLOR

INTRODUCTORY.

Though marvelous progress was made in the
last century in all branches of science, industry
and art, comparatively little was added to the
world of color.

The art of mixing and combining colors is
not confined to the province of genius, it is not
a gift conferred upon the few; but it is the re-
sult of observation and study of the laws of na-
ture, and therefore open to all intelligent
people, except those whose organs of vision are
defective.

No genius, however great, can properly mix
colors without having familiarized himself with
their nature, possibilities and limitations. Taste,
talent and experience in color-mixing and com-
bining, are the essentials in the achievement of

9

success. These essentials must receive their im-
petus by a conscientious study under a system
that has been approved and found incontest-
ably correct.

It is not sufficient to know HOW to mix
colors, but it is absolutely necessary to under-
stand WHY to mix them in a certain manner.
The method of mixing a number of colors and
tints, such as buff, drab, brown, terracotta, rose,
olive, pink, slate, etc., similar to the various
ready-mixed paints shown on sample cards,
without any system whatever, soon proved to be
insufficient, incomplete and impractical.

The system for color-classification and com-
bination as presented in this work, deals exclu-
sively with pigments, or bodies, and substances,
which convey color sensation by reflection.
Although technically imperfect, as compared
with the pure physiological colors, pigments are
the only means of mechanically producing col-
ors and their combinations.

The primary colors, Yellow, Red and Blue,
are taken as a standard for the Fundamental

10

Colors of this system, and are the means of
defining the Theoretical Color Contents of
every combination; they furnish the key for
mixing and intermixing the pure fundamental
colors in an intelligent, definite and systematic
manner, thereby producing an almost endless
number of tertiary, or broken colors. That
tertiary colors must result by mixing the three
primary colors in varied proportions is well
known, but this has never been developed into
a system, nor has it been adopted for practical
use, for the reason that it is too difficult to mix
three colors at once, regardless of the difficulty
of obtaining pigments sufficiently pure to rep-
resent the primary colors.

The advantage derived by mixing but two
colors at a time for producing every tertiary
color, as established in this system, has reduced
this difficulty to a minimum.

In order to show the accuracy of this system
and its practical value, tables of Theoretical
Color Contents have been embodied, represent-
ing in figures the theoretical contents of the

n

fundamental colors. These tables will assist
the student materially in distinguishing the
colors, and explain the difference between the
various combinations.

The theories alone, mentioned in this work,
are not expected to produce practical results
but are referred to merely for explanation.

Since experience is of far greater assistance
in the mixing of pigments than theory, plates
showing the fundamental colors and their com-
binations, mixed, applied and blended by hand,
are included in this work (Vol. II) as a prac-
tical demonstration and guide for the student,
as well as for actual use by the professional
colorist and artisan. The inexperienced eye
may easily be trained to recognize and distin-
guish tones of color and their slightest varia-
tions by studying and experimenting under this
system.

Color does not affect the vision of all indi-
viduals alike, irrespective of the fact that the
causes of color sensation are always the same.
It may be impossible to train the eye, which

12

is afflicted with color blindness; but it, never-
theless, remains true that the faculty of color
conception, no matter how limited, can be
developed and strengthened by systematic
training.

The study and enjoyment of music has long
become a privilege of the many by instruction
in that art according to approved methods,
while a methodical and uniform education in
color has thus far been impossible for want of a
proper system. The success achieved in the one,
is also attainable in the other.

13

COLOR IMPRESSIONS.

Color is the first impression received from
our surroundings, and is therefore the most im-
portant factor in art and industry. The new
born child, as soon as he opens his eyes, receives
color impressions, without being able to con-
ceive them.

Conception of Color cannot be acquired
without training and study; this faculty must
be developed through the aid of proper educa-
tional methods, the same as any other unde-
veloped faculty of the mind or body.

The causes of Color Sensation have existed
from the time when light first flashed through
the universe and gave birth to the colors which
nature reveals to our delight in the rainbow by
refracting the sunlight in the falling rain.

It is an accepted theory that all color im-
pressions are caused by the action of the light-
waves on the retina of the eye, the different
color impressions depending on the respective
lengths of these light-waves. The eye is pas-

14

sive in receiving, and active in conveying color
impression to the brain, and thereby producing
color sensation.

SPECTRAL COLORS.

The colors of the sunlight, called the Spec-
tral Colors, are Red, Orange, Yellow, Green,
Blue and Violet, each blending into the other.
The spectrum can be observed when a ray of
sunlight is refracted by a glass prism on a white
surface; the colors will appear in the same suc-
cession as before stated. The cut diamond, cut
and beveled glass also show the spectral colors.
Soap bubbles, and any oily substance on the
surface of a pond, or other quiet body of water,
will show the spectral colors in a faint measure.

Two theories regarding the spectral, or
physiological colors, have been advanced; both
divide them into Primaries and Secondaries.
One theory holds that Yellow, Red and Blue
are primary colors, and the secondaries are

15

produced by the blending of the primaries in
pairs, where they touch in the spectrum in ro-
tation as follows:

Red and Yellow Yellow and Blue Blue and Red

v ✓ ^ 7

Orange, Green, Violet.

Another, and later theory, holds that the
eye, by means of three separate sets of nerves,
is susceptible to three primary color impres-
sions, according to their respective wave-
lengths, Red, Green and Violet-Blue. The re-
maining colors of the spectrum, classed as sec-
ondaries, are produced according to their inter-
mediate wave-lengths, by stimulating two or
all three sets of nerves at the same time.

Scientific works on physiological colors and
colored light have exhaustively treated this
subject; they give exact wave-lengths of the
spectral colors, their degrees of luminosity, their
relation to each other, as well as to white, gray
and black. They also classify them in many
different ways, give long lists of pleasing and
displeasing combinations and other interesting

16

information, which is for the practical colorist
frequently more misleading than useful. In
fact none of those works on physiological col-
ors have outlined any direction for classifying
pigments in a comprehensive manner for prac-
tical use. The impossibility of systematizing
pigments according to the theory accepting
red, green and violet-blue as the primary colors,
has undoubtedly retarded progress in this direc-
tion, as its fallacy with reference to the mixing
of pigments is obvious.

17

COLOR CHARACTERISTICS.

In order that the terms used in this work
for defining the characteristics of color may be
more clearly understood, they are here enumer-
ated and explained as follows:

SPECTRAL, or Physiological Colors, are the
colors of the sunlight.

COLOR, signifies a Pigmental Color, whether
elementary or combined.

ELEMENTARY COLORS, are the Primary
Colors.

COMBINED COLORS, are the Secondary
and Tertiary Colors.

PURE COLORS, are the Primaries and all
the Secondaries.

The FUNDAMENTAL COLORS, are the
Eighteen Colors of the Circle — the basis of
this system.

18

BROKEN COLORS, are all Tertiary Colors.

NEUTRAL COLORS, are the primaries, and
the three secondaries, each composed of
two primaries adjusted half way between,
neither color dominating.

HUE, applies to the Nature and Quality of
color, such as red with a violet hue, or yel-
low with a greenish hue.

LUMINOSITY, expresses the Quantity of
Light reflected by a color.

TONE is a tertiary color and indicates its
Degree of Luminosity and Hue.

SHADE, designates a Color of Lowered
Luminosity, caused by a reduction of
light, i. e. by the introduction of black, or,
by an admixture of a color of lower lumi-
nosity.

TINT, is a Color of Heightened Luminosity
caused by increased light, or an addition
of white.

19

COMPLEMENTARY COLORS, are the col-
ors opposite each other in the Color Circle,
one containing the primary or primaries,
which the other lacks.

CHROMATIC COLORS, are all of the Fun-
damental Colors and their Combinations,
except such mixture of them resulting in
the formation of the Neutral Gray.

ACHROMATIC COLORS, are Black and
White, singly and mixed with each other,
and the Neutral Gray, because none of the
fundamental colors are perceptible in
them.

The POINT OF BALANCE between two
colors, blended towards each other, is,
where both vanish in a color most dis-
similar to either one.

PIGMENTARY COLORS.

Pigments are not a source of color; they are
substances, which, when spread over a body or
surface, reflect the light-waves of their own in-
herent color and absorb all others. In art and
industry most color impressions are produced
by the use of pigments.

The ancients, having but few pigments at
their disposal, made use of them, without mix-
ing them with each other, by simply grouping
them as the design demanded, divided by white
or black outlines; sometimes producing quite
pleasing and artistic combinations by these lim-
ited means. Thousands of years later the Moors
produced the most wonderful effects by the use
of yellow, red and blue in combination with a
creamy white and black, the yellow being
mostly represented by gold, and with the other
pure colors was applied on the refined low
relief ornamentation, adorning the architectural
details of their beautifully constructed mosques

21

I

and public buildings. The Moorish decoration
is the best illustration of the most artistic results
obtained with pure primary colors.

In modern times conditions have materially
changed. Our domestic architecture, carried
out according to individual taste and ideas, can
never assume a national character, and demands
individual treatment in form and color; hence
the necessity for a variety of colors suitable for
all conditions and circumstances, in combina-
tion with other oftentimes arbitrary colors of
stone, colored marble, tile, metalwork, hard-
wood, colored glass and other products of nature
and art entering into the construction and fur-
nishings of a modern home.

22

MODERN COLORS.

There are three classes of colors: Primary,

Secondary and Tertiary Colors.

PRIMARY COLORS.

Colors which cannot be produced by com-
bining two or more pigments, are Elementary
or Primary Colors, namely:

Yellow, Red, Blue.

SECONDARY COLORS.

Colors which can be produced by the mix-
ture of two primaries are Secondary Colors:

Yellow and Red Red and Blue Blue and Yellow

s V • ' ' V- '

Orange, Violet, Green.

TERTIARY COLORS.

Colors produced by mixing three primaries
directly, or by mixing the secondaries in pairs,
are Tertiary Colors, because the three primaries
compose them in scaled proportions. Formerly
but Three Tertiary Colors, obtained by mixing
these secondaries, were considered, viz:

Orange and Violet Violet and Green Green and Orange

^ N/' ( ^ 1 ■" v v 1 1 ^

Russet, Olive, Citrine.

23

The confining of the tertiary colors to these
three probably was based upon the theory that
the secondaries are produced by mixing two
primaries, neither dominating in the combina-
tion, thus obtaining the three secondaries, and
then mixing the secondaries in the same way,
the possibility of forming other tertiaries
seemed exhausted, notwithstanding the fact
that tertiary combinations result as well by mix-
ing a primary with a secondary containing the
other two primaries, or two secondaries con-
taining the three primaries in any proportion,
as fully explained by the Tables of Theoretical
Contents.

24

COLOR SYSTEM.

Numerous attempts have been made to
establish colors and color systems by adding
black pigment to the spectral and intermediate
colors. Some Art and Technical Schools have
accepted this method as a basis for instruction
in color; and many artists consider black pig-
ment the only medium to produce shades or
broken colors, the theory being that black is
a convenient agent in producing colors of lower
luminosity by adding it in different proportions
to a fixed number of pure colors. This theory,
however, is not borne out in practice, in that
it fails in color production, but merely results
in color destruction. Most artists mix colors
by traditional or individual methods in a me-
chanical way, without penetrating into the
scientific cause of color harmony; but all great
colorists, who reproduce nature in its full splen-
dor, have certainly, unconsciously or by inspira-
tion, adhered to the principle of this system, in
which black is entirely avoided.

25

LUMINOSITY.

Since all colors are produced by light, they
will appear most intense in the brightest light,
and less intense and dull in subdued light.
Orange, red and red-violet absorb more sub-
dued light than blue, green and yellow, the
latter three, therefore, appearing comparatively
more luminous under these conditions.

Colors in subdued light lose some of their
brilliancy, but they do not lose their character
or hue. The subdued waves and the partly re-
flected light act upon them to a limited extent
only, and leave a pleasing transparency, which,
however, is always destroyed by darkening pure
colors with black pigment. The more luminous
the color is, the less surface will be required to
balance color or colors of lesser luminosity. All
authorities agree, that of the three primary col-
ors, yellow is the most luminous, red next, and
blue last. Opinions and experiments as to their
respective degree of luminosity differ the same
as the vision of different individuals.

26

As the mechanical engineer must contend
with inertia and friction, so the colorist is im-
peded by the lesser purity and luminosity of
the pigments substituting the physiological col-
ors. All pigments are darker or less luminous
than the corresponding colors of the spectrum,
and some of them, such as the violets and the
blue-violets, are much darker in tone.

No attempt has been made in fixing the
pigments forming the fundamental colors, used
as a basis for this system, to lighten the darker
ones by the addition of white in order to make
them correspond in luminosity with the spectral
colors. These pigments of lower luminosity pro-
duce the darker tones generally obtained by an
admixture of black.

BLACK AND WHITE.

Black and White are pigments, but not col-
ors in the physiological sense. Black is the ab-
sence of all color, and white is its highest degree
of luminosity. Black and white are the limits

27

of color. The mixture of black and white pro-
duces gray. This gray cannot always be ac-
cepted as a strictly neutral gray since most
black pigments contain traces of chromatic
color. It is well-known that the luminosity of
any color can be expressed by an equivalent
gray, consequently, yellow is equal to ' light
gray, red to medium gray, and blue to dark
gray, but this is of no practical value here, since
the luminosity of the colors adjusts itself in a
systematic manner.

NEUTRAL GRAY.

In contradistinction to the spectral colors,
which, when united, constitute the white light,
the corresponding pigments, when mixed in
proportions necessary to destroy all identity of
each individual color, will form Neutral Gray.
In mixing the three primary colors in proper
proportions the same gray is obtained. Any
surface covered with this gray must reflect gray,

28 .

because all the chromatic colors are neutralized
in it and are reflected together. This neutral
gray can also be produced by mixing all the
eighteen colors in the color circle in certain
proportions, (see Plate 0, hereinafter de-
scribed) ; however, this way is the most difficult,
requiring great patience, utmost skill and long
experience. It may look plausible that the
neutral gray, resulting from the mixing of the
three primary colors, will hold the balance in
neutrality and luminosity between the three,
but such is not the case, as it is more closely re-
lated to blue than to red or yellow; any attempt
to increase its luminosity by adding red or yel-
low, will impair its neutrality.

Microscopic tests prove that this gray is a
more agreeable and transparent color than a
similar gray mixed of black and white, because
the brilliant particles of the composing pure
colors are plainly visible under the microscope,
and will be found grouped alongside of each
other, forming only a mechanical combination
peculiar to all pigments.

29

As the proportion of each of the three pri-
maries for producing this neutral gray must
always be the same, provided the fundamental
pigments are used, it is obvious that this gray
can never be formed by mixing a primary and
a secondary, unless the two primaries, compos-
ing such secondary, are represented in correct
proportion to obtain the gray by simply adjust-
ing the necessary quantity of the third primary;
the result being mostly dependent upon the
unchangeable proportion of the primaries, com-
posing the secondary color, it is more or less
unreliable. Endeavoring to mix this neutral
gray by combining two secondaries containing
the three primaries, is likewise difficult, as the
proportion of the primaries in both secondaries
is fixed and unchangeable.

The combinations by which a neutral gray is
approximately produced are the following:

Yellow to Violet-Blue, . Plate 1 Combination No. 5
Violet to Blue- Green, . Plate 10 Combination No. 2
Blue -Violet to Green, .Plate 11 Combination No. 3
Blue to Orange,.. Plate 13 Combination No. 3

30

A small perforated piece of paper colored
with the neutral gray, and mounted on Plate 21,
is enclosed with the color plates, for locating
the neutral gray in these combinations, and
comparing the luminosity of the colors.

GRAY IN TERTIARIES.

A certain quantity of neutral gray is formed
in every combination, containing the three
primary colors, whether mixed separately, or
mixed as secondaries. This neutral gray and
the balance of the primary and secondary colors
not consumed in its formation, combined, con-
stitute the tone and hue of every tertiary color,
ranging from the neutral gray to the pure fun-
damental colors.

COMPLEMENTARY COLORS.

Complementary physiological colors are
considered to be such, that when combined
revert to the white sunlight from which they
originated. The human eye has the faculty of

31

developing involuntarily the image of the prim-
ary or secondary color insufficiently represented
or entirely absent in its surroundings. Such im-
aginary color which the normal eye suggests is
called the Complementary Color. The normal
eye does not long endure the absence or prepon-
derance of any one of the spectral colors. It
soon becomes strained, and will endeavor to
complement the wanting color as soon as the
strain ceases, by reproducing this complemen-
tary color on a neutrally tinted surface or object.

If the eye is impressed exclusively by bright
red in a room finished entirely in this color, it
will involuntarily feel the absence of the other
two primary colors, yellow and blue. After a
presence of five or ten minutes in such a room,
and upon suddenly entering an adjoining room
finished entirely in white, and well lighted, the
eye will immediately supplement, by its inher-
ent faculty, the impression of light green, by
forming the complementary color: yellow and
blue blended to a tint of green, on the actually
white surface; and the greater the contrast, the

32

quicker the eye will, respond; the longer the
strain lasts, the longer the phenomenon will be
observable. Red and green seem to lead in
complementary suggestion. Blue and orange,
as well as yellow and violet are likewise comple-
mentary. The normal eye will even perceive
strong complementary influences in combina-
tions of tertiary colors. If the color, which the
eye demands as complementary to a given
color, is brought in juxtaposition to such given
color, the purity of both will appear intensified.
Red in contact with green seems to be redder
and the green greener.

The careful study and consideration of this
marvelous faculty of the eye to complement
and enjoy the spectral colors in proper relation
to each other, with reference to individual con-
ception, is the secret of producing correct and
pleasing combinations.

As it seems problematical to define exactly
the complementary physiological colors, and as
the same difficulty exists with the pigmentary
colors, we assume that, for practical purposes,

33

pigmentary colors are complementary v/hen
one contains the primary or primaries which the
other lacks. While pigments do not produce
color, but merely reflect light-waves of their
own color, and absorb all others when light is
acting upon them, the test by covering one pris-
matic color with another to determine their
complementaries, cannot be applied in regard
to pigments. Optical and mechanical tests
differ so widely, that they cannot be used as a
practical pigmentary complementary standard.

Therefore, a positive and comprehensive
basis must be adopted, and the colors opposite
to each other in the color circle are here estab-
lished as the Complementary Colors, because
the one contains what the other lacks.

To combine pigments in a systematic man-
ner, it is essential to arrange the colors, opposite
to each other, according to their greatest differ-
ence in luminosity and hue, and it is thus dem-
onstrated that all colors, claimed by the differ-
ent theories to be complementary, are system-
atically represented in the resulting ninety

34

combinations. No practical color standard can
ever be established by the adoption of the
spectral colors and their physiological comple-
mentaries as a basis. It is frequently but
erroneously assumed that any two complemen-
tary pigments, when mixed in proper propor-
tion, must form the tertiary neutral gray; but
experiments prove that this is not true; an
examination of the respective combinations
will verify this fact.

The pigmentary complementary colors are
defined in three groups, each one showing a
primary color and its complementary second-
ary, supplementing the other two primaries by
the secondaries:

Yellow — Violet (red and blue)

Red — Green (yellow and blue)

Blue — Orange (yellow and red)

Unlike the physiological complementary
colors, which combined, revert to white light,
pigmentary complementary colors will, when
mixed with each other, result in a number of
tertiary colors, according to the proportion in
which the primaries are represented.

35

FUNDAMENTAL COLORS.

The Fundamental Pigmentary Colors, used
as the standard of this system , are based upon
the spectral colors in the following succession:

Yellow, Orange, Red, Violet, Blue and Green.
By inserting two intermediate colors between
each two, (including green and yellow,) uni-
formly scaled, the eighteen fundamental colors,
which form the basis of this system are obtained.

The impossibility of finding six pigments
which exactly represent the spectral colors in
purity and neutrality, compels the colorist to
combine the purest existing pigments as the
only mechanical substitute. It is impossible to
find even three pigments, which exactly repre-
sent the primary colors in purity and hue.

Following is the nomenclature of the funda-
mental colors, and a list of the pigments com-
posing them. They are designated by their
proper names, and have been most carefully se-

36

lected in regard to their mechanical adaptibility
and permanency. Modern chemistry produces
many colors which have but little body (cover-
ing quality, opaqueness) or permanency in re-
sisting the action of light, atmosphere, or chemi-
cal influences, consequently the colorist must
use the utmost care and discrimination in test-
ing and selecting pigments.

The pigments used in establishing the Eigh-
teen Fundamental Colors of this system are:

1. Yellow. Lemon Chrome Yellow and

Medium Chrome Yellow.

2. Orange-Yellow. .... Medium Chrome Yellow

and Light Chrome Orange.

3. Yellow-Orange. .... Light Chrome Orange and

Medium Chrome Yellow.

4. Orange . . Light Chrome Orange and

Medium Chrome Yellow.

5. Red-Orange. ...... Light Chrome Orange and

Pale English Vermillion.

6. Orange-Red . Pale English Vermillion.

37

7. Red

8. Violet-Red

9 . Red-Violet

10. Violet

11. Blue-Violet ......

12. Violet-Blue

13. Blue

14. Green-Blue

15. Blue-Green .......

16. Green .

17. Yellow-Green . . . . .

18. Green-Yellow

. Carmine Vermillion and
Turkey Red.

. Carmine.

. Carmine and Royal Purple.

. Carmine and Royal Purple.

. Royal Purple.

. Royal Purple and Ultra-
marine Blue.

Deep Cobalt Blue and Ul-
tramarine Blue.

Deep Milori Green and
Deep Cobalt Blue.

Deep Milori Green and
Medium Milori Green.

Medium Milori Green and
Light Milori Green.

Light Milori Green and Le-
mon Chrome Yellow.

Lemon Chrome Yellow and
Light Milori Green.

38

As shown, the three primaries, yellow, red and
blue, were mixed of two pigments of similar
color, but differing in hue. The lemon chrome
yellow had a faint greenish hue, and the me-
dium chrome yellow was a trifle orange in hue;
hence, by mixing the two, the neutral, or funda-
mental yellow resulted. The carmine vermillion
with an orange hue, and the Turkey red with
its violet hue combined, produced a red nearer
to the neutral fundamental red, than either of
the two independently. The mixture of the
deep cobalt blue, of a greenish hue, with the
ultramarine blue of a violet hue, gave a better
fundamental blue than either one separately.
It is evident that this mixing of the primaries
slightly impaired their individual purity by the
formation of a minute quantity of gray, caused
by the presence of a trace of the other two
primaries, and could, therefore, theoretically, be
considered tertiary colors. Nevertheless, the
principle and usefulness of this system will not
be affected in the least by this fact, as the actual
colors in this work will clearly demonstrate.

39

The remaining fifteen fundamental colors,
properly scaled, are all secondaries mixed of
two pigments related in hue, or represented by
one pigment of the proper color, as they con-
tain but two of the primary colors and no trace
of the third; consequently, they are theoret-
ically and practically pure.

Further progress in the manufacture of col-
ors may produce simple and pure pigments for
each of these eighteen fundamental colors.

THE COLOR CIRCLE.

In order to arrange the fundamental colors
in a way best adapted for practical use and
study, the Color Circle, (Plate 0,) containing 18
sections, has been established, and divided into
Groups I, II, and III, each group containing six
sections, however fewer or more secondaries
may be adopted to either reduce or extend the
scope of this system, on the same principle.

40

As the succession of the three primary colors
throughout this work is based upon their de-
gree of luminosity, Yellow is assigned to Section
No. 1, Red to Section No. 7, and Blue to Section
No. 13.

The secondaries are assigned as follows:
Orange to Section No. 4, Violet -to Section No.
10, and Green to Section No. 16.

To the remaining twelve sections are as-
signed the twelve intermediate secondaries
leading from each primary to the secondary on
each side. Yellow, in Section No. 1, of the
color circle, blends on the right to red, and on
the left to blue.

The colors on the right half of the circle, as
a class, are called warm, positive, or advancing
colors, in contrast to those on the left half of
the circle, which are known as cool, negative, or
retiring colors, especially those in which blue
predominates. Each of the three groups is
headed by a primary color, as indicated by Nos.
1, 7, and 13, blended through five secondaries

41

to the next primafy in rotation. The names
and numbers of these fundamental colors are :

GROUP I, YELLOW TO RED.

Yellow, ..... No. 1
Orange-Yellow, No. 2
Yellow-Orange, No. 3

Orange, ..... No. 4
Red-Orange, . . No. 5
Orange-Red, . . No. 6

GROUP II, RED TO BLUE.

Red, No. 7

Violet-Red, . . . No. 8
Red-Violet, . . . No. 9

Violet, ..... No. 10
Blue-Violet,. . No. 11
Violet-Blue, . . No. 12

GROUP III, BLUE TO YELLOW.

Blue, ...... No. 13

Green-Blue, . . No. 14
Blue-Green, . . No. 15

Green, ..... No. 16
Yellow-Green, No. 17
Green-Yellow, No. 18

1r- ,

Number 18 closes the Color Circle, and
shows the perfectly scaled fundamental colors,
which, when systematically mixed, two at a
time in different proportions, produce every
tertiary color. The colors opposite each other
are naturally complementary, because one con-
tains the primary, or primaries, which the other
lacks, and when combined result in the most
effective and exhaustive combinations. The

42

neutral gray described on page 28 shown in the
center of the circle, is, in this case, obtained by
actually intermixing the eighteen fundamental
colors of the system as used in the Color Circle.

The circle is indispensable for the study and
comparison of colors, and impressing them
upon the mind, so that they are readily recog-
nized by the student when seen anywhere
and imagined when referred to by their respect-
ive names, the nomenclature being simple and
logical. The system for intermixing the colors
of the circle is explained in Table I, page 48.

1

43

THEORETICAL COLOR CONTENTS.

The nature and difference between the
fundamental colors of this system are defined
by the “theoretical” quantity of pure primary
color which each contains.

Assuming the unit of theoretical contents of
each primary color to be 6, in accordance with
the six colors of each group, the decrease of one
part of a primary in the combination of two,
must result in the increase of one part in the
other. This unit is adopted merely to define
the theoretical contents and explain the process
of mixing the colors according to this system.
The weight, quantity, power, body and cover-
ing quality of these pigments are not con-
sidered.

Having fixed the number of colors in each
group of the circle at six, it is assumed that the
quantity of pure color in each of the primary
colors is equal to the unit 6, viz:

Yellow = 6 parts yellow, 0 part red, 0 part blue, = 600.

44

Red = 0 part yellow, 6 parts red, 0 part blue, = 060.
Blue — 0 part yellow, 0 part red, 6 parts blue, == 006.

The Tables of Theoretical Color Contents on
pages 48, 49, 50 and 51 are inserted for the use of
those v/ho wish to investigate the truths laid
down in this treatise.

TABLE I, EXPLAINED.

In this table, the object of the Color Circle
is further developed and explained. It shows
the three groups of the circle. In column I the
numbers of the eighteen fundamental colors in
succession, and in column II the corresponding
proper names of the fundamental colors are
given. The letters, Y, R. B, over column III
signify Yellow, Red and Blue, and the numbers
in this column give the theoretical color con-
tents of the fundamental colors. In columns
IV, V, VI, VII and VIII the secondary colors of
the next following group in their respective
order are named, which are to be mixed succes-

45

sively with the colors of this group signified in
columns I and II, thereby introducing the third
primary: Blue.

In the first group the quantity of yellow is
decreased one part in each of the five succeed-
ing colors, and the red is increased in the same
proportion; therefore, the numbers 3 3 0 stand
for orange, as the color in which neither yellow
nor red predominates. The 0, under B (blue),
means that no blue is. contained in this group.

In defining the theoretical primary color con-
tents by numbers, the succession is Yellow, Red,
Blue. Wherever 0 appears, it indicates the ab-
sence of the respective color; thus 6 0 0 means
six parts of yellow, no part of red and no part of
blue; consequently, it is pure yellow.

The second group, which contains no yel-
low is headed by red. Here the numbers 0 6 0
stand for pure red. The red is decreased one
part in each of these five colors, and the blue is
increased in the same proportion. Here 0 3 3

46

stands for violet, in which neither red nor blue
predominates. The 0 means absence of yellow
in this group.

The third group is headed by blue, 0 0 6,
and the succeeding five colors are mixed by
adding yellow in the same manner, thereby de-
creasing the blue in the same proportion. The
0 means absence of red in this group.

PREPONDERANCE OF COLOR.

By adding the theoretical contents of the
six colors of each group, it is shown that the
primary heading the group is predominating.

GROUP I. Yellow .... 21 parts.

Red ...... 15 parts.

Blue 0 parts.

GROUP II. Red ...... 21 parts.

Blue ...... 15 parts.

Yellow .... 0 parts.

GROUP III. Blue .21 parts.

Yellow .... 15 parts.

Red ...... 0 parts.

This completes the circle of the eighteen
fundamental colors, which form the elements
for the production of all tertiary colors.

47

The Mastery of Color

Table I.

TABLE OF COMBINATIONS,

Showing the Three Groups of the Color Circle, and the Theoretical
Color Contents of the Eighteen Fundamental Colors and the
Manner of Combining them.

GROUP I - YELLOW TO RED.

1

II

Ill

IV

V

VI

VII

VIII

1

Yellow

Y R B
600

Viol. Red

Red Viol.

Violet

Blue Viol.

Viol. Blue

2

Or. Yellow

510

Viol. Red

Red Viol.

Violet

Blue Viol.

Viol. Blue

3

Yellow Or.

420

Viol. Red

Red Viol.

Violet

Blue Viol.

Viol. Blue

4

Orange

330

Viol. Red

Red Viol.

Violet

Blue Viol.

Viol. Blue

5

Red Or’ge

240

Viol. Red

Red Viol.

Violet

Blue Viol.

Viol. Blue

6

Or’ge Red

150

Viol. Red

Red Viol.

Violet

Blue Viol.

Viol. Blue

GROUP II

- RED TO BLUE.

I

II

in

IV

V

VI

VII

VIII

7

Red

Y R B
060

Green Blue

Blue Green

Green

Yel. Green

Green Yel.

8

Violet Red

05 1

Green Blue

Blue Green

Green

Yel. Green

Green Yel.

9

Red Violet

042

Green Blue

Blue Green

Green

Yel. Green

Green Yel.

10

Violet

033

Green Blue

Blue Green

Green

Yel. Green

Green Yel.

11

Blue Viol.

024

Green Blue

Blue Green

Green

Yel. Green

Green Yel.

12

Viol. Blue

0 1 5

Green Blue

Blue Green

Green

Yel. Green

Green Yel.

GROUP III -

BLUE TO YELLOW.

1

II

III

IV

V

VI

VII

VIII

13

Blue

Y R B
006

Or. Yellow

Yellow Or.

Orange

Red Or’ge

Or’ge Red

14

Green Blue

105

Or. Yellow

Yellow Or.

Orange

Red Or’ge

Or’ge Red

15

Blue Green

204

Or. Yellow

Yellow Or.

Orange

Red Or’ge

Or’ge Red

16

Green

303

Or. Yellow

Yellow Or.

Orange

Red Or’ge

Or’ge Red

17

Yel. Green

402

Or. Yellow

Yellow Or.

Orange

Red Or’ge

Or’ge Red

18

Green Yel.

50 1

Or. Yellow

Yellow Or.

Orange

Red Or’ge

Or’ge Red

48

The Mastery of Color.

Table II.

COMBINATION

of Colors of Group I with Colors of Group II
and their Theoretical Color Contents.

Yellow ....

Y R B Y R B

600.05 1

Violet- Red

Yellow ....

600.042

Red-Violet

Yellow ....

600.033

Violet

Yellow ....

600.024

Blue-Violet

Yellow ....

600.015

Violet- Blue

Orange -Yellow

510.051

Violet- Red

Orange -Yellow

5 10.042

Red-Violet

Orange -Yellow

510.033

Violet

Orange -Yellow

510.024

Blue -Violet

Orange -Yellow

510.015

Violet- Blue

Yellow-Orange

4 2 0.0 5 1

Violet- Red

Yellow-Orange

4 2 0.0 4 2

Red-Violet

Yellow-Orange

4 2 0.0 3 3

Violet

Yellow-Orange

420.024

Blue -Violet

Yellow-Orange

420.015

Violet- Blue

Orange ....

330.05 1

Violet- Red

Orange ....

3 3 0.0 4 2

Red-Violet

Orange ....

3 3 0.0 3 3

Violet

Orange ....

3 3 0.0 2 4

Blue -Violet

Orange ....

330.015

Violet- Blue

Red -Orange. .

240.05 1

Violet- Red

Red -Orange . .

2 4 0.0 4 2

Red-Violet

Red -Orange . .

2 4 0.0 3 3

Violet

Red -Orange . .

240.024

Blue -Violet

Red-Orange . .

240.015

Violet- Blue

Orange -Red. .

150.05 1

Violet- Red

Orange -Red. .

1 5 0.0 4 2

Red-Violet

Orange-Red . .

1 5 0.0 3 3

Violet

Orange -Red. .

150.024

Blue -Violet

Orange -Red. .

150.015

Violet- Blue

49

The Mastery of Color.

Table III.

COMBINATION

of Colors of Group II with Colors of Group III
and their Theoretical Color Contents.

Red

Y R B Y R B

060.105

Green- Blue

Red ......

060.204

Blue -Green

Red

060.303

Green

Red

060.402

Yellow -Green

Red

060.50 1

Green-Yellow

Violet- Red . .

0 5 1.10 5

Green- Blue

Violet- Red . .

051.204

Blue -Green

Violet- Red . .

0 5 1.3 0 3

Green

Violet-Red . .

051.402

Yellow-Green

Violet- Red . .

051.501

Green-Yellow

Red-Violet . .

042.105

Green -Blue

Red-Violet . .

042.204

Blue- Green

Red-Violet . .

042.303

Green

Red-Violet . .

042.402

Yellow- Green

Red-Violet . .

042.50 1

Green -Yellow

Violet

033.105

Green- Blue

Violet .....

033.204

Blue-Green

Violet

0 3 3.3 0 3

Green

Violet

0 3 3.4 0 2

Yellow- Green

Violet

0 3 3.5 0 1

Green-Yellow

Blue -Violet . .

024.105

Green -Blue

Blue -Violet . .

024.204

Blue -Green

Blue -Violet . .

024.303

Green

Blue -Violet . .

024.402

Yellow- Green

Blue -Violet . .

024.501

Green -Yellow

Violet- Blue . .

015.105

Green- Blue

Violet-Blue , .

015.204

Blue -Green

Violet- Blue . .

015.303

Green

Violet- Blue . .

015.402

Yellow- Green

Violet- Blue . .

015.501

Green- Yellow

50

The Mastery of Color.

Table IV.

COMBINATION

of Colors of Group III with Colors of Group I

and

Blue . . . . .

Blue

Blue

Blue

Blue

Green- Blue. .
Green- Blue . .
Green -Blue . .
Green- Blue. .
Green -Blue. .

Blue-Green . .
Blue-Green . .
Blue -Green . .
Blue -Green . .
Blue -Green . .

Green . . . .

Green . . . .

Green ....
Green . . . .

Green . . . .

Yellow -Green .
Yellow -Green .
Yellow- Green .
Yellow -Green .
Yellow- Green .

Green -Yellow .
Green- Yellow .
Green -Yellow .
Green -Yellow .
Green - Yellow .

ir Theoretical Color

Y R B Y R B

0 0 6-5 1 0

006.420

006.330

006.240

006.150

105.510

105.420

105.330

105.240

105.150

204.510

204.420

204.330

204.240

204.150

303.510

303.420

303.330

3 0 3.2 4 0

303.150

402.510

402.420

402.330

402.240

4 0 2.1 5 0

501.510

5 0 1.4 2 0

501.330
5 0 1.2 4 0
5 0 1.15 0

Contents.

Orange -Yellow
Yellow-Orange
Orange
Red- Orange
Orange -Red

Orange -Yellow
Yellow-Orange
Orange
Red -Orange
Orange -Red

Orange -Yellow
Yellow-Orange
Orange
Red -Orange
Orange -Red
Orange -Yellow
Y ellow - Orange
Orange
Red -Orange
Orange -Red

Orange - Yellow
Yellow-Orange
Orange
Red- Orange
Orange -Red
Orange -Yellow
Yellow-Orange
Orange
Red -Orange
Orange -Red

51

TERTIARY COLOR COMBINATIONS.

See Table I.

As but two primaries are represented in each
group of the circle, the production of tertiary
colors would never be possible by intermixing
the colors of one group, as the third primary
wanted for tertiary combinations is not con-
tained therein. It is therefore necessary to
combine with colors of other groups, contain-
ing the third primary; and thereby make the
most exhaustive use of the seemingly limited
possibilities which pigments offer for producing
positive tones. The novice may presume that
the proportions for mixing colors might be
ascertained by weight or measure; this, how-
ever, is neither practical nor possible, as lu-
minosity and body (covering quality) differ in
all pigments. Physiological experiments in
color mixing are of no avail as they have no
bearing on the mixing of the pigments.

Studying the colors and their combinations
produced by this system will soon develop

52

the great sensitivity of the eye to such an ex-
tent, that the slightest difference in tone and
hue between the many colors is readily dis-
tinguished, while the difference could not be
ascertained in any other way. Individual facul-
ties, such as a trained eye, judgment and good
taste, can never be substituted by mechanical
means. As pigments have more or less inten-
sity, body or covering quality, two colors can-
not be mixed in equal quantities to produce a
color, which in luminosity and hue lies just be-
tween the two; it must be the eye which de-
fines and judges colors and their variations.
The simplicity of mixing, or reproducing any
desired tone by using but two fundamental
colors at a time, is the great advantage of this
system.

53

THE NINETY COMBINATIONS.

The ninety accurately scaled color combin-
ations resulting from the systematic mixing of
the fundamental colors in pairs, are produced
as demonstrated in Table I.

In order to obtain the tertiary colors as be-
fore mentioned, it is necessary to mix the colors
of one group containing two primaries, with
the colors of the next group which contain the
third primary in connection with one of the
others, viz.: Group I, yellow and red; Group
II, red and blue; Group III, blue and yellow.
This is accomplished in the following manner:

Starting with No. 1, yellow, of Group I, con-
taining the combination from yellow to red, the
third primary, blue, not contained therein, is
first found in Group II, No. 8, the “violet-red/’
which contains no part of yellow, five parts of
red and one part of blue = The yellow is
then mixed with the violet-red == ^- Bto Y R B

6 0 0 0 5 1

gradually blending from one to the other. The

54

numbers show the theoretical contents of the
two colors in the combination as carried out
in Table II, defining the theoretical contents
of the combination of the colors of Group I, as
mixed with the colors of Group II in succession.
The yellow is then blended with colors Nos. 9,
10, 11 and 12 of Group II, in which blue is in-
creased by one theoretical part in each suc-
ceeding color, and the red is decreased in the
same proportion. See Table II and Plate 1.

The next color, orange-yellow, containing
five parts of yellow, one part of red and no part
of blue, is then blended with colors Nos. 8, 9,
10, 11 and 12 of Group II. See Table II and
Plate 2.

Yellow-orange, containing four parts of yel-
low, two parts of red and no part of blue, is
then blended with the same colors, Nos. 8, 9,
10, 11 and 12 of Group II. See Table II and
Plate 3.

The orange, containing three parts of yel-
low, three parts of red and no part of blue, is

v

55

then blended with the same colors, Nos. 8, 9,
10, 11 and 12 of Group II. See Table II and
Plate 4.

The next, red-orange, containing two parts
of yellow, four parts of red and no part of blue,
is then blended with colors, Nos. 8, 9, 10, 11
and 12 of Group II. See Table II and Plate 5

The last of the first group is orange-red,
which is also blended with the colors Nos. 8,
9, 10, 11 and 12 of Group II. See Table II and
Plate 6. This ends the possible combinations
of the colors of Group I with the colors of
Group II.

While the red is increasing by one theoreti-
cal part in the colors of Group I, as shown in
Column III, Table I, the blue is increasing by
one theoretical part in each of the colors of the
second group, and the red is decreasing in the
same proportion. In summing up the com-
bined theoretical contents of the colors of
Group I, blended with the colors of Group II
(see Table II), it is shown that the red pre-
dominates in this group.

56

Red is represented by . . 165 parts.

Yellow is represented by 105 parts.

Blue is represented by . . 90 parts.

Group II, in which red is mixed with blue,
is then blended with the colors of Group III
(see Table I), containing the first primary, yel-
low, not contained in Group II, i. e., yellow
mixed with blue. Red, No. 7, is then blended
with green-blue, No. 14, containing one part of
yellow and five parts of blue, and is then
blended in the same manner with colors Nos.
15, 16, 17 and 18 of Group III; thereby intro-
ducing the yellow, and increasing it one theo-
retical part in each succeeding color, the blue
decreasing in the same proportion. See Table
III, Plates 7 to 12 inclusive.

Next, violet-red is blended with the colors
Nos. 14, 15, 16, 17 and 18 of Group III.

Next, red-violet is blended with the above
colors.

Next, violet is blended with the same colors
as before.

Blue-violet and violet-blue would then com-
plete the blending of the colors of Group II

v

57

with the colors Nos. 14, 15, 16, 17 and 18 of
Group III.

In adding the theoretical parts contained in
the colors of these two groups, it is shown that
blue is the predominating color in this com-
bination.

Blue is represented by . 165 parts.

Red is represented by . 105 parts.

Yellow is represented by 90 parts, see Table in.

The colors of Group III, Nos. 13, 14, 15, 16,
17 and 18, containing blue and yellow, are
blended with the colors Nos. 2, 3, 4, 5 and 6
of Group I, containing the second primary, red,
mixed with yellow, in the same rotation and
manner as the other groups.

The combination of these two groups shows
a predominance of yellow.

Yellow is represented by 165 parts.

Blue is represented by . 105 parts.

Red is represented by . . 90 parts. See Table iv.

These ninety combinations cover all pri-
mary, secondary and tertiary colors found in
nature and art, and in their blending and ar-
rangement form a perfect and endless chain of

58

color. The comparison of these combinations
with their corresponding colors in nature will
materially aid the student to a more thorough
conception of the realm of color, but as these
comparisons are easily made, no further sugges-
tions in this direction are deemed necessary.

THEORETICAL AND PRACTICAL

PROOF.

The normal eye will receive satisfactory
proof of the accuracy of this system by closely
studying and comparing the combinations. The
theoretical contents, exhibited in Tables II, III
and IV are likewise conclusive, and every color
and combination in this system can be correctly
and definitely designated by their figures of
theoretical contents, without naming the colors.

The mathematical proof, establishing the
difference of all the ninety combinations by
comparison, is made in the following manner:
The parallelograms on pages 60, 61 and 62 are

59

vertically divided into ten equal spaces; the
horizontal division consists of six spaces. These
six spaces are intended to be analogous to the
adopted number of theoretical color contents
entering into each combination from left and
right, and defined by diagonal lines.

COMBINATION No. 3, PLATE 1.
Yellow to Violet, 6 0 0 — 0 3 3.

Figure 1.

This example shows combination No. 3,
Plate 1, yellow to violet, in which six parts of

60

yellow are blended from the left, and three
parts of red, and three parts of blue from the
right. A — B dividing the yellow from the red,
and A — C the red from the blue.

COMBINATION No. 3, PLATE 2.
Orange- Yellow to Violet, 5 1 0 — 0 3 3.

Figure 2.

The object of selecting this combination for
the second example is to show the slightest
difference in color, the theoretical contents
varying only one part from Figure 1, the yellow

61

having decreased one part and the red in-
creased in the same proportion; hence the dif-
ference in the diagonal lines. Here are five
parts of yellow divided by A — B from one part
of red from the left, and three parts of red from
the right, which in turn are divided by C — D
from the three parts of blue from the right, and
form an irregular quadrangle, A, B, D, C.

COMBINATION No. 1, PLATE 12.
Violet-Blue to Green-Blue, 0 15 — 10 5.

On

e Part

of Re<

One

: Part

)f Yell<

)W.

Te

n Part

5 of B1

le.

Figure 3.

62

Fig. 3. This combination has been selected
as it shows the greatest possible preponderance
of a primary color under this system, i. e., Com-
bination No. 1, Plate 12, Violet-Blue to Green-
Blue, 0 1 5-1 0 5. It contains five parts of blue
and one part of red from the left, and five parts
of blue and one part of yellow from the right.
The horizonal line A — B divides the ten parts
of blue (five from each side) from the one part
of red from the left, which again is divided from
the one part yellow from the right by C — B.
The vertical lines are intended to facilitate
comparison at the intersecting points, in order
to prove that the proportions of the primary
contents differ at every point in each, as well
as in all of the ninety combinations, which
when carried out in this manner, will prove
mathematically the correctness of this system.

63

TONES AND TINTS.

By mixing any color in the ninety combin-
ations with White the luminosity of the former
is increased, and its intensity of tone is de-
creased at the same time. A multitude of tints
can be produced in this way, the number de-
pending in each case upon the difference in lu-
minosity between the color to be combined and
the white, and also on the capability of the eye
to distinguish the tints.

Plate 19 shows eighteen intermediate dis-
tinct and separated colors of Combination No.
1, Plate 14, Green-Blue to Orange- Yellow, as an
illustration of how the intermediate colors of
every one of the ninety combinations can be
made in the same manner; however the num-
ber of such colors depends entirely on the dif-
ference in luminosity and hue between the two
colors forming the combination.

Plate 20 shows Color No. 6 of the combina-
tion of green-blue to orange-yellow on Plate

64

19, blended to white through eighteen perfectly
scaled tints. Averaging the intermediate colors
in each of the ninety combinations at fifteen,
and the tints of each color in each combination
at the same number, over twenty thousand
colors and tints will result, of which no two can
ever be alike.

USE OF THE COLOR PLATES.

The ninety combinations, embracing every
conceivable color, are of the greatest value for
the introduction into the world of color, and
furnish the means of defining and establishing
all tones of color, and their combinations. It is
no longer necessary to describe imaginary
colors, as the actual colors can be pointed out
and their fitness for the purpose is easily deter-
mined.

An addition of white to the colors, as before
stated, will produce any and all tints desired.
It might be assumed, that the adding of black

65

to these colors in the same manner would re-
sult in forming their shades, but as explained
before on page 27, this is neither necessary nor
desirable. If darker colors are required it is
advisable to use the colors ground in oil, which
will darken them considerably without impair-
ing their character.

The mats, on which the colors, showing the
ninety combinations, are mounted, are almost
neutral gray, a background best adapted for
this purpose, as it neither affects their lumi-
nosity nor hue. A background of black would
seemingly increase the luminosity of the colors
and a white background would lower it. The
plates and combinations are numbered, and
the colors defined by their fundamental names
and theoretical contents for easy reference.

In order to get the best view of all combi-
nations for comparison at the same time, place
them on a table, or fasten them to a wall in
three vertical rows, heading the first with Plate
No. 1, the second with Plate No. 7, and the

66

third with Plate No. 13, thus conforming with
the arrangement of the groups of the color
circle.

This arrangement will show, on the three
top plates, the combination of each of the three
primary colors, blended with the complemen-
tary secondary color directly opposite, and the
two colors adjoining the secondary on each side
of it in the color circle. In the first row on
Plate 1, on the left of the five combinations is
Yellow, blended on the right with violet-red,
red-violet, violet, blue-violet and violet-blue in
succession; these colors are the same on the
right on each plate in this group, while the yel-
low on the left is decreasing on each succeeding
plate by one theoretical part, and the red is in-
creasing in the same proportion until in Plate
No. 6 it ends in red-orange. This group contains
a preponderance of red. (See page 57 and
Table II.)

The second group is headed with Red on the
left in the five combinations on Plate No. 7,
blended in the same manner with green-blue,

67

blue-green, green, yellow-green and green-yel-
low of the color circle. These five colors appear
on the right side of each plate in this group,
while on the left the colors are the same on each
plate, but are scaled from red to violet-blue,
the red decreasing and the blue increasing by
one theoretical part on each succeeding plate
until it ends in the violet-blue, Plate 12. This
group has a preponderance of blue. (See page
58 and Table III.)

The third group is headed on the left by
Blue on Plate No. 13, also blended in the same
manner with orange-yellow, yellow-orange,
orange, red-orange and orange-red of the color
circle. As in the other groups the colors on the
right repeat on every plate in this group, while
on the left the colors are the same on each plate,
scaled from blue to green-yellow on each suc-
ceeding plate, the blue decreasing and the yel-
low increasing by one theoretical part, until it
ends in the green-yellow on Plate No. 18. In
this group the yellow predominates. (See page
58 and Table IV.)

68

In passing the eye over the combinations,
the fundamental colors appear in rotation on
the left of the plates from No. 1 to No. 18. The
right side of Group I shows the intermediate
colors leading from red to blue on each plate;
on the right side of Group II the five interme-
diate colors composed of blue and yellow ap-
pear on each plate, and on the right side of
Group III the five intermediate colors com-
posed of yellow and red repeat on each plate.

POINT OF BALANCE.

It is very interesting to observe, by blending
two colors, especially those opposite, or nearly
opposite each other in the color circle, how
both become active and endeavor to uphold
their individuality to the full extent of their re-
spective powers, until they balance each other
in a color which unites the characteristics of
both, modified by the neutral gray forming in
every tertiary combination.

Theoretically, the point of balance should
be in the center of each combination, and wher-

69

ever this varies, it is caused by the mechanical
difficulty of blending all combinations uni-
formly.

The most effective and exhaustive combi-
nations result, as before stated, by blending two
colors which differ most in luminosity and hue.
Among them, for instance, are:

Yellow and Violet-Blue Plate 1

Yellow and Blue-Violet Plate 1

Red-Violet and Green-Yellow . . . Plate 9

The combinations showing the smallest pos-
sibilities, because their theoretical contents be-
ing ten parts of one primary and but one part
of each of the others, are:

Orange-Red and Violet-Red . . . Plate 6
Violet-Blue and Green-Blue . . . Plate 12
Green-Yellow and Orange- Yellow Plate 18

(Compare theoretical contents on Tables II
III and IV.)

THE PERFORATED MAT.

The perforated mat, when placed over a
combination, will show ten distinct colors, even
where the smallest difference exists, the per-

70

forations being numbered to facilitate the
designation of such colors. In moving the mat
a quarter of an inch to one side, the intermedi-
ate colors will appear. Even if the eye should
be unable to distinguish them plainly in this
small quantity, the difference will be more no-
ticeable by comparing larger surfaces covered
with these colors. The ability to distinctly per-
ceive the difference in tone and hue in each of
the ninety combinations of the fundamental
colors, and in relation to each other, proves a
well developed vision beyond doubt.

COLOR-BLINDNESS.

Color-blindness has been found an optic af-
fliction. It consists in partial or total inability
to conceive and distinguish certain spectral
colors. The colors in the circle can be used for
a test, especially the red and green. Failure to
discover any difference in tone and hue be-
tween the colors opposite each other is a posi-
tive proof of color-blindness.

71

l

HARMONY OF COLOR.

The laws of Color Harmony are not the work
of man or fashion, and should never be violated
nor ignored. Harmony of color is a combina-
tion of colors agreeable and satisfactory to the
normal eye. Harmony depends, however, upon
so many other influences and conditions, aside
from the peculiarities of the colors themselves,
that no special positive rules of harmony can
ever be established; and the only way for the
colorist to master the problem is to consider
surroundings, circumstances and purpose, use
his experience, skill and good judgment, with
due reference to the characteristics of the in-
dividual for whom the color is intended.

The simple principle of harmony is always
to show a suggestion of the wanting primary in
every combination of colors. This is done by
introducing this primary color incidentally
in an ornament, or by simply mixing it with

72

some other color of the combination. The com-
plementary colors, as shown in the color circle,
form the basis of all color harmony.

In order to lend repose and character to a
combination, one color must dominate in power
or quantity.

The addition of white to a color will produce
a tint w r hich will match in hue, but differ in
tone. This, however, constitutes no harmony,
as no complementary color is introduced. To
produce a harmony it is necessary to select a
color nearer to either one or the other pure
colors of the same combination and adjust its
tone by adding white. The old method of pro-
fessionals to blend two contrasting colors by
adding from one to the other and vice versa,
until they appear satisfactory, is the practical
solution of harmonizing colors. The student
will soon be able to acquire this practice by
observing and experimenting under this sys-
tem; it will help him to define the colors, teach
him HOW to mix them, and WHY to mix them
in the manner herein established.

73

HARMONY IN THE COMBINATIONS.

By separating the colors of the combinations
with the perforated mat, it will be found, that
any two colors in the same combination will
harmonize with each other, because every com-
bination represents all three primaries, forming
a harmony in itself and excluding all possibili-
ties of creating anything but harmony.

Either of the two fundamental colors form-
ing such combination will harmonize equally
well with the color in their point of balance.
The colors on one side thereof will form a softer
harmony, while a combination of the colors on
each side of the point of balance will form a
more contrasting or complementary harmony,
which will increase or decrease according to the
distance that these colors are located from the
point of balance.

The colors at or near the point of balance
are the most suitable and agreeable as a back-

74

ground on surfaces or objects in art and indus-
try. They are restful to the eye, and will en-
hance the beauty and charm of any juxtaposed
brighter color. In interior decoration, in con-
nection with lustrous hardwood, rich floor cov-
erings, valuable pictures and works of art, ter-
tiary colors properly combined are of the great-
est importance for creating harmony, and will
always lend to an interior that air of refine-
ment and chaste elegance which appeals to the
educated eye and mind.

The following shortly illustrates how to use
the combinations in planning color schemes for
interior decoration.

Considering the existing conditions and re-
strictions in a room for which a color scheme is
to be planned, the woodwork usually is the
most important factor, as it comes in contact
with the ceiling, wall and floor. Assuming the
woodwork to be Satinwood, which is of a yel-
lowish color, take the nearest color to it in the
color circle for one of the colors of the scheme,
which color is the fundamental yellow, No. 1,

75

and, in order to take advantage of the greatest
possibilities the opposite color in the circle,
violet, is taken as the second color. It will be
found that the combination of these two colors
is Combination No. 3, Plate 1, Yellow to
Violet. Separating the colors of this combina-
tion by the perforated mat, color No. 7 light-
ened two tones with white, furnishes an agree-
able color for the walls, and color No. 5 for the
frieze, cornice and ceiling. Containing more
yellow it will counteract the cooler indirect
light prevailing in the upper portion of every
room, deriving light through windows on the
side. This color can be lightened sufficiently
by an addition of white to appear two to three
tones lighter than the walls.

The color suggestions for draperies, furni-
ture coverings and carpets will be found in
colors Nos. 7, 8, 9 and 10, enlivened with the
lighter and more yellow colors of the same com-
bination. These colors can also be introduced
on ceilings and walls in surface ornamentation
and in embroidery on draperies and furniture;

76

gold ornamentation in embroidery would
increase the effect of this combination. No
discord can ever occur by making color-
schemes in this manner.

The introduction of some incidental colors
through pictures, objects of art, bric-a-brac, etc.,
will be found to be easier and much more effect-
ive in such systematic color combination than
in any accidental color-scheme.

Advanced decorators are well aware that
materials in the softer colors, as selected for the
above combinations are difficult to find among
stock fabrics, etc., and are forced to resort to
having suitable material made or dyed for such
purposes. The facility with which the desired
color can be established and conveyed by an
actual color sample according to this system will
be of the greatest advantage to the professional
and amateur alike; even laymen will be enabled
to express their preference and taste in a precise
manner.

In planning effective color-schemes it is es-
sential always to blend the color requiring con-

77

sideration with the color directly opposite or
one of the two adjoining colors on each side and
nearly opposite in the color circle, all of these
five containing the third primary in scaled pro-
portions.

The same principle applies to the selection
of dress goods, where colors nearer to the point
of balance in suitable combinations will have a
pleasing influence on the complexion, and are
also well adapted for tasty combinations with
other soft or even brighter colors if desired. To
use the fundamental colors in their purity, with-
out combining them with softer broken colors,
will never satisfy the educated eye.

The beneficial or detrimental effect of a
color on the complexion can also be regulated
according to the color circle. A rosy com-
plexion can be heightened by the complemen-
tary color. Rose, being a tint of red, will be
complemented extremely by a tint of the oppo-
site green (Combination No. 3, Plate 7, red to
green) ; charmingly by a tint of the color be-

78

tween the green and the point of balance; fit-
tingly by a tint of the color in the point of bal-
ance; and poorly by a tint of color near the red.

COLOR MIXING.

The mixing of these combinations is exceed-
ingly interesting and instructive. In order to
exhaust the possibilities of a combination, the
color in the point of balance should be mixed
first, and next the two colors between this and
the colors on each side, and so on until the dif-
ference becomes too small to be distinguished.

c_>

In order to produce tints, the same method
of first mixing a balancing color between the
white and the color selected should be followed.
The possibilities in creating the scaled tints of
every one of the colors in the ninety combina-
tions, as described on page 64, and illustrated
on Plate 20, seem almost inexhaustible.

79

The advantages derived from experiment-
ing with the fundamental colors composing
them, as described on page 37, and mixing them
in combination according to this system, cannot
be emphasized too strongly to the student.

PRACTICAL HINTS.

The pigments used for illustrating this work
are the purest obtainable, finely ground in
water, bound with glue, applied and blended
by hand on heavy, white, v/ell sized paper. In
order to obtain the most perfect results, it is
necessary to keep palette, pots, brushes and
everything entering into use for blending colors,
perfectly clean. The necessary addition of
glue for binding these color affects their purity
but very little. The white pigment used for

mixing the tints is the finest Cremnitz White.

; \

It is preferable to any other white pigment, be-

80

cause it can be applied more evenly, mixes
readily and exerts but little or no chemical in-
fluence upon the other pigments.

Oil Colors. While the fundamental pig-
ments ground in oil will produce darker tones, it
would be impractical to attempt to make all
combinations in this way. If any color should
be desired darker it can be produced with the
same pigments ground in oil.

COMMERCIAL MIXED COLORS.

If for practical purposes, quantities of mixed
colors are required and the question of expense
is to be considered, the desired color can be
easily selected and defined by its fundamental
colors; and if not too far from the point of bal-
ance, an inexpensive pigment similar in tone
and hue may be substituted as a basis; and by
comparison with the color selected it may easily
be determined which primary or secondary
color must be added to adjust it. It is plausible,
however, that for reproducing purer color no
substitute of lesser purity can be considered.

81

For example, if, by placing the perforated
mat on Combination No. 2, Plate 1, Color No.
7 should be wanted in an inexpensive pigment,
the common Venetian Red with a small addi-
tion of Chrome Yellow would answer the pur-
pose.

IN PRACTICAL USE.

The merits of this system have been practic-
ally tested in the course of many years by the
author, who has always worked on the pure
color principle, which led to the development
of this system. The possession of thousands of
colors and tints, mixed under this system, and
classified, enables the colorist to make the com-
binations, and by aid of the actual color samples
furnished as a guide, to regulate their reproduc-
tion with the utmost precision.

82

There is no unknown or mysterious color in
existence, therefore none can ever be discov-
ered which could overthrow this system, how-
ever the colorist may hope for a continued
progress in the manufacture of pure pigments
to assist him in the heroic effort to rival with
the luminosity and purity of the spectral colors
to the very limitations which only nature itself
will define.

THE END.

83

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